| kaisersozehongbatemp | Posted: 28 Feb 2021, 06:14 AM |
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 Member Posts: 11 Joined: 16-January 20 |
There's a lot of breathy, white noise, ripe for filtering. Here's a thought, you can rotate the whistle about the slider axis without changing the pitch. Perhaps by standing it up, you could rotate the (leading edge, noise hole?) to direct the sound into one of an array of simple, open tube type, formant resonators circled around it, giving you *vowel sounds*! Lengthenable tube inside a tube and you got yourself a dipthong. A tube with an openable mute at the end gets you a wah a wee, a weh, yow, oi). You can fake a bass swanny whistle by recording in double time and playing back half speed for every octave. Sloppier, but bass parts are simpler. Inversely, you could tighten up faster passages by recording at a slower speed.... You could also alternate from octave derived ranges and timbres by modulating, say, a fifth, then recording and playing back at the right harmonic ratio (2:3?). Although this could get a bit modal, beyond fifths and fourths, you are the master of your temperament. That could be a cool way to emulate modal choral arrangement, Gregorian chant, which could be hilarious. It may even be feasible to script and automate multiple passes calibrating, multitracking and editing these pitch/time derived timbres, leave it running, perhaps out of earshot, and return to an immense multi voiced lush chorus of swanny. And maybe a generated an editing script you can import into a video editor, Or a slow frame rate time capture with a sunset in the background, for content purposes. May be obvious, but, further to extending the range of pitch and timbres, with automation, you could do multiple further passes with different damping, slightly detuned, or tuned to a lower throughput of air, and create further, double tracking (not harmonizing), 'studio chorus', thickening effects, without using modulated digital delay. That might be musically useful, potentially a sample pack for patrons. You could create a veritable Enya of swanny whistle. Yay content. Are the overblown harmonics useful, repeatable? Thinking you may have finer control of the pitch with a lower note playing a harmonic, potentially another timbre for multitracking. If you ever go back to this, and mount it, it will be worth isolating the motors, via shafts into the box, way more prominent than the fan. Multi tracked servos will be a nightmare. Love your work! P.s. it might be useful to add noise to your pitch by adding a vibrato from another source, maybe with an LFO'd, off-weighted vibrating motor interacting with the shaft in some way. Or a coil holding an oscillating current surrounding the shaft. Given your setup recalibrates itself, you could swap out alternate mouthpiece, tube and plunger combos with others of the same length, but different diameters, or materials. Different mouthpiece type, eg a transverse flute might be doable, reeds? Final thought, another air pressure source, just for transients, might reduce attack times and help control the amplitude by blowing the harmonic out such that it's just in the transient, leaving the fundamental to sound. Maybe. ------------- |
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| mit | Posted: 28 Feb 2021, 11:53 AM |
 yeah whatever Admin Posts: 566 Joined: 4-May 16 |
QUOTE
You can fake a bass swanny whistle by recording in double time and playing back half speed for every octave I have tried this out a bit, it does work. It's also possible to pitch-shift a recording without changing speed. For multitrack stuff it would work fine, although it does feel like cheating. Not so sure about the formant stuff but I have tried to take these plastic slide whistles apart, and it's very hard to dismantle them without ruining them. The plastic is solvent-welded so it's more likely to shatter the tube than come apart at the joint. ------------- |
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| kaisersozehongbatemp | Posted: 28 Feb 2021, 10:06 PM |
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Member Posts: 11 Joined: 16-January 20 |
Double post Last edit by kaisersozehongbatemp at 28 Feb 2021, 10:38 PM ------------- |
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| kaisersozehongbatemp | Posted: 28 Feb 2021, 10:36 PM |
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Member Posts: 11 Joined: 16-January 20 |
QUOTE (mit)
Pitch shifting would be cheating, this would be musique concrete and therefore totally legit.Not so sure about the formant stuff but I have tried to take these plastic slide whistles apart, and it's very hard to dismantle them without ruining them. The plastic is solvent-welded so it's more likely to shatter the tube than come apart at the joint. Not sure what you meant, so just to clarify, re:formants I didn't mean swapping out the shaft of the whistle, I meant pointing the sounding hole into another tube https://www.phon.ucl.ac.uk/home/mark/vowels/ It would look like an upturned umbrella with the swanny as the stem and formant tubes as the spokes. If you imagine the sound is leaving the whistle perpendicular to the shaft, at the sound hole. You could rotate the stem to point the emerging sound along different spokes, potentially with the same speed and accuracy you're hitting pitches. Ah, do you mean the slider won't rotate in the shaft? EDIT: you meant swapping out the parts, I realise, but they're relatively easy to make, right? Last edit by kaisersozehongbatemp at 28 Feb 2021, 10:37 PM ------------- |
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